\rn pr jvc pvruj\rrnn 















BUNTY PULLS THE STRINGS 

A comedy in 3 acts. By Graham Moffat. Produced 
originally at the Comedy Theatre, New York. 5 males, 
j females. 1 interior, 1 exterior. Modern costumes. 

The story told with nai’ve humor, concerns the fortunes of half 
a dozen middle-class Scotch. The marrying Scotch ladies have their 
keen sense of the material side of the matrimonial bargain. The 
Scotch men are also practical. But Bunty is the canniest of the lot. 
Bunty’s father, a pillar of the kirk, has been somewhat irregular 
in connection with a trust fund given to him by Miss Susie Simpson, 
a vinegary spinster. She has suspicions and boldly suggests marriage 
as an alternative to an accounting. Meanwhile, Eelen Dunlop, whom 
Bunty’s parent had jilted twenty-five years before, turns up. Susie 
suspects that there may be a reawakening of sentiment, and Sunday 
morning she makes a scene in front of the kirk, and accuses Bunty’s 
father of the theft. The undaunted daughter proves her ability. 
She promises payment the following day and this is accomplished 
with money that her fiance, William Sprunt, has saved for their 
marriage. Then, having side-tracked the repellent Susie, Bunty ar¬ 
ranges for the marriage of her father and the long abandoned Eelen. 
And all the while Bunty’s own interests are not overlooked. Her 
own wedding day has been carefully fixed, and on her own terms. 

(Royalty, twenty-five dollars.) Price 75 Cents. 


APPLESAUCE 

Comedy in 3 acts. By Barry Conners. Produced origi¬ 
nally by Richard Herndon at the Ambassador Theatre, 
New York. 4 males, 3 females. 2 interiors. Modern cos¬ 
tumes. 

Bill McAllister was that serene and envied type of youth who could 
get along quite well without working. His chief stock-in-trade 
"applesauce” manages to get for him all the essentials of life, even 
a girl. The main obstacle for Bill to overcome is the fact that Hazel 
is engaged to be married to Rollo Jenkins, an industrious young 
man who looks carefully at every penny before he spends it. 

Obstacle number two is in the form of Hazel’s father who 
happens to be well pleased with Rollo. As might be gathered Rollo 
and Hazel have a spat about Bill with the result that the spreader 
of a little sunshine wins the girl. There is an extremely funny scene 
in which Bill plays up the enormous cost of married life and talks 
Rollo right out of his engagement. He marries the girl with just 
$6 in his pocket and the firm belief that two can live as cheaply 
as one, for talk is cheap and Bill is no lazy linguist. 

(Royalty, twenty-five dollar*.) Pricb 75 C*nti. 


THE SPIN OF THE 

WHEEL 

A ONE-ACT COMEDY 


BY 

ROLLIN KIRBY 


Copyright, 1937, by Samuel French 


All Rights Reserved 

CAUTION: Professionals and amateurs are hereby warned that 
“THE SPIN OF THE WHEEL,” being fully protected under the 
c<3pyright laws of the United States of America, the British Em¬ 
pire, including the Dominion of Canada, and the other countries 
of the Copyright Union, is subject to a royalty, and anyone pre¬ 
senting the play without the consent of the owners or their 
authorized agents will be liable to the penalties by law provided. 
Do not make any arrangement for the presentation of this play 
without first securing permission and terms in writing from 
Samuel French, at 25 West 45th Street, New York City, or at 
811 West 7th Street, Los Angeles, Calif. 


SAMUEL FRENCH, Inc. 

25 West 45th Street, New York, N. Y. 
811 West 7th Street, Los Angeles, Calif. 

SAMUEL FRENCH, Ltd., London 

SAMUEL FRENCH (Canada), Ltd., Toronto 


THE SPIN OF THE WHEEL 

ALL RIGHTS RESERVED 


Especial notice should be taken that the possession of this 
book without a valid contract for production first having 
been obtained from the publisher confers no right or license 
to professionals or amateurs to produce the play publicly or 
in private for gain or charity. 

In its present form this play is dedicated to the reading 
public only, and no performance, representation, production, 
recitation, public reading or radio broadcasting may be given 
except by special arrangement with Samuel French, at 25 
West 45th Street, New York City, or at 811 West 7th Street, 
Los Angeles, Calif. 

This play may be presented by amateurs upon payment of 
a royalty of Five Dollars for each performance, payable to 
Samuel French, at 25 West 45th Street, New York, or at 811 
West 7th Street, Los Angeles, Calif., one week before the 
date when the play is given. 

Professional royalty quoted on application to Samuel 
French, at 25 West 45th Street, New York, or at 811 West 
7th Street, Los Angeles, Calif. 

Whenever the play is produced the following notice must 
appear on all programs, printing and advertising for the play: 
“Produced by special arrangement with Samuel French.” 

Attention is called to the penalty provided by law for any 
infringement of the author’s rights, as follows: 

“Section 4966:—Any person publicly performing or repre¬ 
senting any dramatic or musical composition for which copy¬ 
right has been obtained, without the consent of the proprietor 
of said dramatic or musical composition, or his heirs and 
assigns, shall be liable for damages thereof, such damages in 
all cases to be assessed at such sum, not less than one hun¬ 
dred dollars for the first and fifty dollars for every subse¬ 
quent performance, as to the court shall appear to be just. 
If the unlawful performance and representation be wilful and 
for profit, such person or persons shall be guilty of a mis¬ 
demeanor, and upon conviction shall be imprisoned for a 
period not exceeding one yeri,r.”—U. S. Revised Statutes: 
Title 60, Chap. 3. 

WARNING 

The copying, either of separate parts or the whole of this 
work by any process whatsoever, is forbidden by law and 
subject to the penalties prescribed by Section 28 of the Copy¬ 
right Law, in force July 1 , 1909. 


Printed in the United States of America hy 

The Richmond Hiu. Record, Richmond Hill, N. Y. 

AUG 16 1937 

©ClD^ub. 51390 




PS352.1 

,Ic=3c,5g 


THE SPIN OF THE WHEEL 
STORY OF THE PLAY 

A man and a woman, both ruined at the gambling 
tables, meet at night on the terrace at Monte Carlo. 

They decide to “do the usual” and commit suicide 
simply because that is the accepted end for ruined 
players. An importunate employee urges them to 
make haste so that he can get to bed. 

They fail with a gun which has only one cartridge. 
The man proposes to starve himself to death. 

A man enters who has broken the bank. They hold 
him up with the empty gun. 

The employee, who has overheard this, covers 
them with a gun to rob them of their loot. He is 
pushed into the rubbish-can, the lid is clapped on, 
they regain their spoils and exit. 


3 



CAST OF CHARACTERS 

He, a man of 55, wearing an overcoat. 

She, a woman of 28, in evening gown and opera 
cloak. 

Employee, a man of 40 in attendant's uniform. 
Stranger, a man of 45 in evening dress. 

SCENE 

A terrace at Monte Carlo. 


s 































/ 



THE SPIN OF THE 
WHEEL 


Scene : On the terrace at Monte Carlo. Night. 

There is a door Center leading into the 
Casino ; windows Right and Left Center. Tables 
with chairs Right and Left Center. Entrances 
Right and Left . 

(Enter Man, Center, hatless, overcoat collar turned 
up.) 

He. Good God, everything gone! They got every¬ 
thing—cleaned! (Sinks into chair Left of table Right 
Center.) My last sou! I might have known—I had it 
all figured out—it was a mathematical certainty. I 
had eliminated luck and now—Good God !—cleaned! 
To the devil with systems! 

(Enter Woman, Center, in opera cloak. They dis¬ 
cover each other.) 

She. You said something? 

He. I certainly did say something. I'm through— 
flat—stony. 

She. Yes, I understand. 

He. You also? 

She. Yes, everything—utterly. 

He. What was yours? Roulette? 

She. Yes, roulette. You—? 

7 


8 


THE SPIN OF THE WHEEL 


He. Baccarat. 

She. And so you are ruined? 

He. I have fifty centimes. See— (He throws open 
his coat. He has no shirt.) 

She. They got your shirt! 

He. I played to the last. (Her opera cloak slides 
from her shoulders, disclosing an extremely decol¬ 
lete gown.) 

He. Good heavens, they go yours— I beg your 
pardon—Pm jumpy, that’s all. 

She. What are you going to do ? 

He, There’s only one thing, I suppose. It’s custom¬ 
ary here. (Takes revolver from his pocket. Several 
pistol SHOTS off stage. Both start.) 

She. What’s that? 

He. Others, I imagine. 

She. Like us? (Sits Right of table Left Center.) 

He. Yes. 

(Enter Left an Employee of the Casino; walks 
around them, eyeing them closely—sees revol¬ 
ver.) 

Employee. I do not wish to be importunate, but 
it is growing late. We have had a busy day. If Mon¬ 
sieur and Madame are thinking of—might I suggest 
—in case you are going to do the usual, the employ¬ 
ees would be grateful if it were not delayed too long. 
We should like to close up. 

He. Well, you’ve got a nerve! Close up— keep it 
closed—I’m through with everything. 

Employee. But, Monsieur— 

He. Get out! (Exit Employee Right. He, turning 
to Woman ) And about you— What do you propose 
to do? 

She. Why, I don’t know. The usual, I suppose. 

He. But how? 


THE SPIN OF THE WHEEL 


9 

She. I’ve not given it any thought. What would 
you suggest? 

He. I don’t know. I’ve given advice to women all 
my life, but never before have I been asked your 
question. I shall have to think. 

She. The whole thing is ridiculous, of course. It’s 
just being caught in a stupid convention. 

He. I know, but there you are. It’s the thing—it’s 
being done. 

She. Yes, but what would people say? 

He. That’s it. (Another SHOT off stage.) There’s 
another. You see. I wish those people would stop 
shooting themselves. It’s getting on my nerves. 

She. The world can be very cruel sometimes. If 
one only dared. ( Suddenly ) What’s your name ? 

He. Charles. 

She. Mine’s Doris. (He looks at her sharply for 
the first time and sees she is pretty.) 

He. I’m afraid, Doris, that I am not going to be 
of much help to you tonight. This pistol contains but 
one cartridge and I’m not sure that it’s any good. 

She. I don’t think that is treating me just right. 

He. No —no, it’s not. See here. I’ve an idea. If 
we were to put our heads together—literally, I mean 
—it would be possible to, you know, make one shot 
of it. 

She. (Rising) That’s rather brilliant now, Char¬ 
lie. 

He. (Putting revolver on table) Let me place your 
chair beside mine—so. (Puts her chair beside his. 
They sit.) Oh, good Lord, I’m a half head taller than 
you are. (He slides down until their heads are on 
the same level) There, that’s better. (Takes revol¬ 
ver from table.) 

She. You’re sure the bullet will go all the way 
through your head, aren’t you ? 

He. Why, I think so. I’ve never shot at it before. 

She. I’ll feel silly if it doesn’t, that’s all. 


10 


THE SPIN OF THE WHEEL 


He. That is a chance you will have to take, Doris. 

She. Of course you own the revolver and you can 
do what you like with it, but it does seem to me 
that if there is to be any slip-up I’m going to be the 
one to suffer. (As he toys with the pistol it goes off.) 

He. My God, now Eve done it! That’s the last 
chance we had. 

She. This is too awful. What will people think? 
You compromised me, Charlie, that’s what you have 
done. 

(Enter Employee, Right , on the run with huge gar¬ 
bage can marked “RUBBISH” and a broom.) 

He. Didn’t I tell you to get out? Why don’t you 
stay out ? 

Employee. But surely I heard a shot, Monsieur. 
I had hoped— 

He. (Turning to her) He had hoped! (Wheeling 
in wrath on the Employee,) You infernal vulture! 
What you heard was probably someone in the shrub¬ 
bery there. A lot of them had a rather rough spin of 
it tonight. 

Employee. No, I’ve got all the others cleaned up. 
Why, in the name of Heaven, can’t you do what you 
have to do and let me get to bed ? I’m dying for the 
lack of sleep. For two sous I’d do the job myself. 

She. Charles, there’s an idea. That’s the way out. 

He. How would you do it? 

Employee. I could choke you to death. 

He. If you lay a finger on this lady I’ll bust you 
on the nose. Do you get that? 

Employee. You are American, are you not, Mon¬ 
sieur? 

He. Yes, and I’m one of the best little nose-bust¬ 
ers that ever came out of Allegheny City. 

She. (Placatingly) Can’t you see our predica- 


THE SPIN OF THE WHEEL 


ii 


ment? We’ve lost everything. This gentleman here 
has lost his shirt. 

Employee. You seem to think that is unusual. 
Why, fifty people a day do that here. 

He. Tell me, what does the Casino do with all the 
shirts ? 

Employee. I don’t know. They may own a haber¬ 
dashery or they may send them to the heathen. How 
should I know? 

He. No, you flat-faced buzzard, you shouldn’t 
know anything. I’m mad at you. 

Employee. If I may be permitted the observation, 
Monsieur, you Americans are the most inconsiderate 
people on earth. I’ve got to get to bed and I’m going. 
(Takes rubbish can and departs hurriedly off Left.) 

He. Do you know, Doris, I dislike that man. 

She. So I gathered. And now what do you pro¬ 
pose to do ? 

He. I propose to do just this—I am going to sit 
here, just as I am, until I starve to death. 

She. It will be quite a long wait, won’t it? 

He. Perhaps. 

She. And people will be coming in and looking at 
you. That will be embarrassing, won’t it? 

He. I will tell them, “Go away, I’m starving.” 

She. Then they would take up a collection for you. 
They would probably run sight-seeing busses to look 
at you— Gentleman Without Shirt Starves On Ter¬ 
race At Monte Carlo! You will be a sensation! You 
see, I couldn’t possibly do that. It’s fantastic for me 
in an evening frock. Flatly, I shouldn’t dream of it. 

He. I’m not sure, though, that I’m not starving 
now. I’ve not eaten since lunch. I may not last much 
longer, Doris. Already I feel a sort of numbness 
creeping over me. Frankly, I am going straight on 
getting number and number. 

She. Did you say dumber and dumber? 



12 THE SPIN OF THE WHEEL 

He. I did not. You know perfectly well what I 
said. 

She. I’m sorry, Charles, but I take very little stock 
in your numbness and a great deal in your dumbness. 

He. I am so numb that I cannot feel your jibes. I 
guess I know when I am dying. (Offstage a man's 
voice singing, “For I'm The Man That Broke The 
Bank At Monte Ca-a-arlo.” Enter Stranger, Cen¬ 
ter, in evening dress. His hat is set at a rakish angle 
and his arms are full of shirts. As he discovers the 
Others he stops.) 

Stranger. Oh, I hope I do not intrude. 

He. As a matter of fact, you do. I am just begin¬ 
ning the rather slow process of starving to death. 

Stranger. That’s interesting—very. But just why 
are you doing it ? 

She. He’s ruined—the bank got everything. We’re 
both ruined. 

Stranger. (Turning to her) Aren’t you joining 
him in this interesting experiment? 

She. I don’t think I am—now. 

Stranger. Well, is there some— (Looks at him 
in effort to detect a joke) Well, I’m damned! 

He. (Looking intently at the armful of shirts) 
See here, that’s my shirt—that second one—the one 
with the blue stripes in it. How the devil did you 
get it? 

Stranger. How did I get it ? I got it as I got the 
others. I won it. I won every blessed shirt they had. 
My friends, I broke the bank! See— (He pulls out 
handful of notes and coins) Every pocket is like 
that—it’s so much that I’m afraid to count it. I 
nicked ’em this time, the dirty crooks! 

He. My God, Doris! 

Stranger. (Turning to her) If your friend is go¬ 
ing to starve himself to death, what are you going 
to do? 


THE SPIN OF THE WHEEL 


13 

She. I had thought of going back to live in Clar- 
inda, Iowa. That would be suicide, all right. 

He. (Rising and grasping his shirt from the heap 
in the Stranger's arms) Here, give me my shirt! 
(Stranger struggles to prevent him. They fight, 
during which the shirts are dropped. She gathers 
them up. Having got them, She hurries over to the 
table and snatches up the revolver, which she slips 
into Charles' hand.) 

She. Here, take this—quick! 

He. (Pointing the revolver at the Stranger/' 
Come on, stick ’em up. 

Stranger. (In terror) Here, for God’s sake, don’t 
shoot. Take it all, only be careful with that gun. 

(WARN Curtain.) 

He. (Amazed at the turn things are taking) Every¬ 
thing ? 

She. You mean — (With sudden resolution) Do 
it, Charles. Keep him covered. (She goes through 
his pockets, taking everything.) 

Stranger. Bah! A couple of crooks! This is 
straight robbery. 

He. (As She works) It’s Monte Carlo. 

She. What did you think it was—Ocean Grove? 

He. (Slipping revolver into his overcoat pocket) 
Here, take a hundred francs for taxi fare. Now 
take it on the run. 

Stranger. If there was any law in this blasted 
little country you’d never get away with this. (Exits 
Left. They resume their chairs.) 

He. I’m afraid that was a trifle crude. I dislike 
crude things. ( She picks up the shirts and begins to 
remove the cuff-links and studs. Re-enter Employee, 
Left, dressed in pyjamas and pushing his wheeled 
rubbish can. He walks as an automaton, unconscious 
of the Others.,) 

She. Sh-h-h-h! He’s walking in his sleep. 

Employee. (Suddenly produces revolver which he 


14 


THE SPIN OF THE WHEEL 


levels at Charles^ I’ve got the drop on you. Drop 
that gun—quick, I say! 

He. (Obeying) You call that sleep? 

Employee. You called me a flat-faced buzzard, 
didn’t you? I’ll show how clean a buzzard works. I 
saw what just happened. Step over here now and 
put everything into this. (Indicates rubbish can) 
Like all well-regulated gambling establishments, the 
percentage is always to the house. In this case, I’m 
the house. 

He. Rich one minute and broke the next. Ain’t 
life hell? (As they approach the rubbish can 
Charles suddenly and deftly catches the Employee 
and dumps him into the can. The revolver is dis¬ 
charged. Charles claps the lid and Doris swings 
herself on top. Charles catches hold of the handle 
and starts to trundle off Right. Suddenly he stops, 
rushes back to the heap of shirts, pazvs them over 
until he finds his own, which he waves victoriously. 
Then he resumes his rubbish-can handle. Pushing 
can) The percentage is always to the house and in 
this case we're the house! 


CURTAIN 


INTERIOR. 













DULCY 

Comedy in 3 acts. By George Kaufman and Marc Con¬ 
nelly. Produced originally at the Frazee Theatre, New 
York. 8 males, 3 females. 1 interior scene throughout. 
Modern costumes. 

Dulcy is a bride. Her other name is Smith. In her determination 
to be helpful to her husband and her friends, she plans a week-end 
party at her home not far from New York. They are an ill-assorted 
group, such as only a Dulcinea could summon about her. The three 
acts reveal them just before and after dinner on the evening of their 
arrival and on the following morning. Their brief association becomes 
an unbroken series of hilarious tragedies. Meanwhile she has all but 
ruined her husband’s plans to put through an important business 
merger with a rich capitalist. Among her guests is a rapturous scenario 
writer who conspires to elope with the daughter of the capitalist, who 
loathes motion pictures. The plausible rich young man from Newport, 
whom Dulcy invites, turns out to be a harmless escaped lunatic. The 
ex-convict, whom she has employed as a butler in her work of social 
uplift, steals a diamond necklace belonging to one of the guests. 
Everything goes wrong, including the bridge, the golf and the bil¬ 
liards—the last because Dulcy has disturbed the level of the table 
and misplaced the ivory balls. But the most exquisite torture she in¬ 
flicts upon her hapless guests is when she invites the scenario writer to 
recite one of his hectic plots to interpretative music played at the 
piano by the lunatic. It is with this experience of Dulcy’s bored guests 
that the play reaches its highest level of satirical fun. It is Dulcy’s 
final blunder which unexpectedly crowns all her mistaken efforts with 
success. A comedy of spontaneous mirth. 

(Royalty, twenty-five dollars.) Price 75 Cents. 


LOVE-IN-A-MIST 

Play in 3 acts. By Amelie Rives (Princess Troubetz- 
koy) and Gilbert Emery. 3 males, 4 females. 1 interior. 
Modern costumes. 

This is an especially interesting character study written by the 
accomplished author of "Tarnish” and the celebrated novelist who 
wrote "The Quick and the Dead.” The chief character in this play 
is a charming society woman who consistently, though with the best 
motives, tells lies. Her incessant lying, especially to the man she 
loves, brings far more pain than if she had always told the truth. 
Eventually, however, Diana sees the error of her ways and will (per¬ 
haps) reform after she marries the man she is in love with. While 
there is plenty of comedy, the play contains a generous share of strik¬ 
ing dramatic situations. A play for advanced amateurs. 

(Royalty, fifty dollars.) Price 75 Cents. 


THE IMPATIENCE OF JOB 

A character comedy in 3 acts. By Pauline Phelps and 
Marion Short. 6 males, 5 females. 1 interior. Modern cos¬ 
tumes. 

This modern comedy deals with the advent of elderly Uncle Job 
into the home of the Benson family, already struggling to make 
both ends meet, and who therefore extend him a somewhat grudging 
welcome. 

Uncle Job, blithely unconscious of being considered an intruder, 
is possessed with the belief that he is about to make a fortune in 
some mysterious way which he declines to reveal. Cantankerous and 
irritating, he proceeds to antagonize the Bensons’ rich aunt, the 
only one able to befriend the family in case of need, and whose 
good will has been carefully cultivated. 

Just when Uncle Job’s actions become so erratic that the aunt 
insists he be sent to an asylum, the Benson boy gets into a serious 
scrape, and to the surprise of the entire family, it is Uncle Job who 
comes to the rescue, in a comical though highly practical way. 
Later, Uncle Job makes good on his apparently chimerical scheme 
for achieving wealth, and becomes the savior of the family. 

(Royalty, ten dollars.) Price jo Cents. 


THE EDUCATION OF DORIS 

A comedy in 3 acts. By Marie Doran. 5 males, 8 
females. 1 interior, 1 exterior. Modern and fancy cos¬ 
tumes. 

The story deals with young people in a co-ed school where a 
substantial tuition is charged. The heroine, Doris Green, is anxious 
to enter the school to complete her studies, after which she hopes 
to engage in social service work. Doris, an orphan living with her 
aunts, finds all her ambitious plans are interrupted when the family 
income is abruptly cut off. Doris calls at the school—not for the 
purpose of entering Miss Fraser’s class, but to bid good-bye. The 
story of her disappointment reaches friendly ears, as well as some 
who are not so well disposed toward Doris. The friends rally to aid 
her, ready to combat the opposition, and the battle is on. But it’s 
not such a rough war—it has many kind and humorous incidents. 
The comedy is developed around this situation, with our heroine the 
central figure in the clash. Sympathetic efforts to overcome knotty 
difficulties result in some very original scenes with amusing schemes 
on the part of the hero, Richard Hi.nter, his pal Phil Martin, and 
funny Willy Wright. 

Any number of young people may appear in the fancy dress 
scene, and singing and dancing may be introduced. 

(Royalty, ten dollars.) Price jo Cents. 


LIBRARY OF CONGRESS 



ADAM AND EVA 


Comedy in 3 acts. By Guy Bolton and George Middle- 
ton. Produced originally at the Longacre Theatre, New 
York. 6 males, 4 females. 1 interior, 1 exterior. Modern 
costumes. 


The story of a wealthy man, his extravagant, selfish family, cling- 
ingly dependent upon him and apparently regarding him as bother¬ 
some except when he poises pen above check book. These relatives 
even arrange with his physician to have him go away on a long 
trip, so that they may run up bills more freely. In comes the fa¬ 
ther’s young business manager, who tells his employer how he would 
love a home. The exasperated father tells him they will change 
places and puts him in command of the household, himself lighting 
out for the upper reaches of the Amazon. 

The young man soon finds himself confronted by the same hurri¬ 
cane of flippancy and terrific bills for lingerie. As a desperate remedy 
he deludes the family into thinking that father’s big rubber business 
is ruined. In divers and humorous manners they meet the emergency. 
Of course, it does them all good and brings out the best in them. 
"Adam and Eva” is genuine fun. It enjoyed a year’s run on Broadway 
and was a great success on the road and in motion pictures. We 
strongly recommend it for amateur production. 


(Royalty, twenty-five dollars.) Price 7 $ Cents. 


ARE YOU A MASON? 

Farce in 3 acts. By Leo Dietrichstein. Produced origi¬ 
nally by Rich and Harris at the Garrick Theatre, New 
York. 7 males, 7 females. 1 interior. Modern costumes. 

"Are You a Mason?” is one of those delightful farces like 
"Charley’s Aunt” that are always fresh. "A mother and a daughter,” 
says the critic of the New York Herald, "had husbands who account 
for absences from the joint household on frequent evenings, falsely 
pretending to be Masons. The men do not know of each other’s 
duplicity, and each tells his wife of having advanced to leadership 
in his lodge. The older woman was so well pleased with her hus¬ 
band’s supposed distinction in the order that she made him promise 
to put up the name of a visiting friend for membership. Further 
perplexity over the principal liar arose when a suitor for his second 
daughter’s hand proved to be a real Mason. ... To tell the story of 
the play would require volumes, its complications are so numerous. 
It is a house of cards. One card wrongly placed and the whole thing 
would collapse. But it stands, an example of remarkable ingenuity. 
You wonder at the end of the first act how the fun can be kept up 
on such a slender foundation. But it continues and grows to the last 
curtain.” 

(Royalty, twenty-five dollars.) Price 7j Cents. 









